https://www.hifichoice.com/content/spendor-d72

All the modifications have brought about a subtle but worthwhile improvement to the performance, without throwing out Spendor’s trademark civilised sound. What we hear is more of the music and less of the cabinet and drivers. The previous model was already pleasingly neutral and open, but the D7.2 goes much further. It’s as if Philip Swift and his team have zeroed in on the weaker aspects of the older speaker and sorted them in a focused and surgical way. The result is a crisp, open and even-sounding loudspeaker that’s now impressively engaging and surprisingly dynamic – especially for a floorstander of this price.

When it comes to tonality, the original wasn’t the most transparent but was well integrated from bottom to top and pleasingly warm. The new model doesn’t wander far from this path, but does sound fractionally lighter and brighter; there’s a little extra sparkle right across the frequency range. The Yamaha DX7 synthesiser on Sade’s The Sweetest Taboo sounds more atmospheric, with a sense that you’re able to hear the harmonics a little better. There’s more space around vocals and a lighter and more spry sound to the cymbals. This is all subtle, but makes for a more lifelike sound – despite remaining smooth and sophisticated.

https://www.hifichoice.com/content/fyne-audio-f500

“Much more so than the Revel, the F500 is remarkably sensitive to setup and I play around with toe-in for some time before things begin to gel. This done, the F500 images like a dream, floating solid, three-dimensional images in front, behind and well to the sides of the enclosures, and those in the plane between them are just as well formed and precisely positioned. In this respect it’s better than the more expensive Revel.

I find it lifts the intended impact of all sorts of recordings, from early dense and murky Emerson, Lake & Palmer to Caravan Palace’s studio supercharged Chronologic, not least Leena, the track’s expansion and phase effects bouncing off the walls before the production rolls out a succession of depth-charge synth sweeps to die for.”

https://www.stereophile.com/content/acora-srb-loudspeaker

These aren’t ordinary small two-way monitors. They sound bigger than they are. They are capable of producing an expansive soundstage. They are highly detailed and fast, with a feeling of microdynamic precision and quick-footed effortlessness. They can start and stop on a dime.

Partnering amplifiers should be chosen with care. The VAC tubes worked especially well.

Bass extended deeper than expected and had good clarity and definition—and yet, in my room, the SRB’s tonal balance ran mostly neutral to slightly cool, which makes me think my room was perhaps a little too large for them and/ or could have benefited from more absorption in this setup.